2014 器·Haus空间艺术家驻留计划
2+2final2 David Auborn, Sam Meredith, Alex Middleton ,Joe Venning
四位英国年轻艺术家David Auborn, Sam Meredith, Alex Middleton和 Joe Venning参加”国际艺术家驻留项目之重庆器空间“的艺术展览名为2+2=天鹅。将这次展览定为2+2是源于开幕日期2月22日，这一天没有什么特别，却也能让你觉得有趣儿。
在英国，日期格式用日/月/年，而中国是用月/日/年格式；一个小小的日期就体现出中西方的文化差异，所以会导致许多误译、误解甚至双方的不信任。四位艺术家希望通过此次展览展现自己的西方文化，同时带来他们对东方文化的感受，希望大家学会欣赏文化差异性。
数字是超越世界上不同的语言和文化，被大家公认的符号，数字2则是一个可以阐释不同东西的符号。
数字1理解为一个或单数，紧跟其后的2理解为偶数或一对。我们四个人，两间工作室，就能两两组合分别在一间工作室进行创作。David可以和Alex一起, David可以和Joe一起，Joe 能和Sam一起，而Sam又能和Alex一起。在英格兰，竖起两根手指有双重意思，既可以表示胜利，还能表明一种挑衅。
用天鹅来表达2+2的结果是因为她同样具有双重意思。在英国，天鹅既被视为一种怪物，是亵渎神明的东西，但同时是属于英国女王和皇室贵族的财产，这一英国王室传统已承袭了几千年。此外，单从天鹅的外形来看就似一个正放的2，而人们通常从湖面上看天鹅，湖中她们的倒影是不是又像一个倒着的2呢？趣味性体现在你如何想象你看到的东西，这是四位艺术家通过这次展览最想表达的东西，让你看了会觉得有趣儿。你或许能被一两个角落里的东西吸引，或是面对面看到一些伸到你眼前的东西：也许是洒落的灰尘和亮点，也许是吵杂的晚餐时发出的声音。你或许能找到一些新玩意儿，或认出你熟悉的旧东西，正放在一个不是很高的凳子上展出。
这些闪烁的灰尘，会随着它的魅力和它的戏弄来调动你的神经，你的耳朵或许也会打开来聆听这零碎的笑声。你的眼睛也会随着这些耀眼的光芒和烟雾弥漫的景象而闪烁。炸开的爆竹和悬挂的广告，绚丽多彩却又零碎陈旧，塑料和面条，颜料和贵宾犬。这些东西都慢慢在氤氲气氛，只请你放慢脚步好好感受吧！
在英国，日期格式用日/月/年，而中国是用月/日/年格式；一个小小的日期就体现出中西方的文化差异，所以会导致许多误译、误解甚至双方的不信任。四位艺术家希望通过此次展览展现自己的西方文化，同时带来他们对东方文化的感受，希望大家学会欣赏文化差异性。
数字是超越世界上不同的语言和文化，被大家公认的符号，数字2则是一个可以阐释不同东西的符号。
数字1理解为一个或单数，紧跟其后的2理解为偶数或一对。我们四个人，两间工作室，就能两两组合分别在一间工作室进行创作。David可以和Alex一起, David可以和Joe一起，Joe 能和Sam一起，而Sam又能和Alex一起。在英格兰，竖起两根手指有双重意思，既可以表示胜利，还能表明一种挑衅。
用天鹅来表达2+2的结果是因为她同样具有双重意思。在英国，天鹅既被视为一种怪物，是亵渎神明的东西，但同时是属于英国女王和皇室贵族的财产，这一英国王室传统已承袭了几千年。此外，单从天鹅的外形来看就似一个正放的2，而人们通常从湖面上看天鹅，湖中她们的倒影是不是又像一个倒着的2呢？趣味性体现在你如何想象你看到的东西，这是四位艺术家通过这次展览最想表达的东西，让你看了会觉得有趣儿。你或许能被一两个角落里的东西吸引，或是面对面看到一些伸到你眼前的东西：也许是洒落的灰尘和亮点，也许是吵杂的晚餐时发出的声音。你或许能找到一些新玩意儿，或认出你熟悉的旧东西，正放在一个不是很高的凳子上展出。
这些闪烁的灰尘，会随着它的魅力和它的戏弄来调动你的神经，你的耳朵或许也会打开来聆听这零碎的笑声。你的眼睛也会随着这些耀眼的光芒和烟雾弥漫的景象而闪烁。炸开的爆竹和悬挂的广告，绚丽多彩却又零碎陈旧，塑料和面条，颜料和贵宾犬。这些东西都慢慢在氤氲气氛，只请你放慢脚步好好感受吧！
2+2 = Swanis the title of the exhibition by David Auborn, Sam Meredith, Alex Middleton and Joe Venning at the Organhaus art space, Chongqing. Displaying work made on the international artist residency program.
The title 2+2=Swan stems from the opening night falling on the twenty second of February. A date that is seemingly insignificant, but perhaps allows for intrigue.
22.2.2014 (UK) 2.22.2014 (China) Cross culture mistranslation, miscommunication, misconstrued rationality.
Hidden meaning, nonsense prevailing, open ended positive stupidity!
Numbers transcend through language and cultures and two is a number that can allow for many open connotations.
Right after one, two is a pair, couple of couples, two studios. David and Alex, Joe and Sam. Sam and Alex, David and Joe. In England, two fingers up, interchangeable meaning with a turn of the wrist, could be peace, could be fuck.
Equally swan. Swans are English. British. In the UK, british beast is a blasphemous dinner. They all belong to the Queen. Royalist. Or is it just a backwards 2? Playfulness in imagery. This playfulness is at the heart of the exhibition of David, Alex, Joe and Sam.
You may notice something in a corner or two, confronted with something poking out at you, colour and sprinklings of dust and glitter, thick messy mutter at a table top dinner.
The title 2+2=Swan stems from the opening night falling on the twenty second of February. A date that is seemingly insignificant, but perhaps allows for intrigue.
22.2.2014 (UK) 2.22.2014 (China) Cross culture mistranslation, miscommunication, misconstrued rationality.
Hidden meaning, nonsense prevailing, open ended positive stupidity!
Numbers transcend through language and cultures and two is a number that can allow for many open connotations.
Right after one, two is a pair, couple of couples, two studios. David and Alex, Joe and Sam. Sam and Alex, David and Joe. In England, two fingers up, interchangeable meaning with a turn of the wrist, could be peace, could be fuck.
Equally swan. Swans are English. British. In the UK, british beast is a blasphemous dinner. They all belong to the Queen. Royalist. Or is it just a backwards 2? Playfulness in imagery. This playfulness is at the heart of the exhibition of David, Alex, Joe and Sam.
You may notice something in a corner or two, confronted with something poking out at you, colour and sprinklings of dust and glitter, thick messy mutter at a table top dinner.
You may discover something new, or recognise something you thought you knew, stalled by a stool, a small stool stall, not very tall.
These flickers of ash and dust and dirt, must move your mind with its charm and its flirt, your ear may turn or a glint catch your eye, a flicker of laughter, a smoggy sky.
Beats banging, prints hanging. Elegant and pretty but shabby and bitty, plastic and noodles, pigment and poodles, things are ticking over here, over there, take your time and soak up the air.
These flickers of ash and dust and dirt, must move your mind with its charm and its flirt, your ear may turn or a glint catch your eye, a flicker of laughter, a smoggy sky.
Beats banging, prints hanging. Elegant and pretty but shabby and bitty, plastic and noodles, pigment and poodles, things are ticking over here, over there, take your time and soak up the air.
SamMeredith’s Statement
Upon arrival in Chongqing, Sam was given his Chinese name Kuíhuā zǐ 葵花籽, 一到达重庆,Sam被人叫做”葵花籽”
Sam, being the sunflower seed he is, has spent his time in Chongqing hot footing it around, collecting sounds from the outdoor grandma discos and picking up old fireworks. Hey ho another day another noodle!
Sam,像太阳花一样,在重庆四处行走,从广场中老奶奶们的disco音乐的坝坝舞中采集声音并拾捡春节期间燃放过后的烟花.嘿!哪天我们再一起吃面!
The result of these experiences has led him to perform a series of site-specific raps at various locations in Chongqing. Giving birth to the start of his very own music platform for emerging young artist rappers, called UKTV.
这些经历使得他在重庆不同的地点表演了一系列具有具体场景的说唱.这也使得他作为一个’年轻艺术家／说唱歌手’创造的一个非常个人化的音乐平台得以诞生,并被命名为UKTV.
With a bag full of red gunpowder and a paint brush in hand, inevitably he has created some moody paintings, however his powder has been sprinkled further a field, things are sprouting from the studio floor and growing like vines from ceiling to wall, even a limited edition range of Chuan Kao pants have started to take shape, we can safely say - David Beckham, eat your heart out mate!
他手里拿着一包红色的矿物色粉和一只画刷,不可避免的创作了一些喜怒无常的作品,然而他的粉末被播撒到了更远的地方,东西从画室的地板上发芽像葡萄藤蔓一样从房梁垂下到墙上,即便有限的Chuan Keao裤子系列开始成形，我们可以毫无疑虑地说-大卫•贝克汉姆，把你的心吐出来，兄弟！（此处为一个笑话，表示贝克汉姆因为Chuan Keao系列的上市，其个人形象而变得’危险’）Being a sunflower seed, naturally he will return home soon, and upon arrival will plant himself in Sunnyside Road, South
Ealing, London. With his experiences in Chongqing embedded deep within his roots, he hopes to grow tall and strong and shed light on England’s green and pleasant land.
像太阳花种子一样的他，自然会很快回到家,当他到了之后,他会把自己种在光明路,南伊灵,伦敦.在重庆的经历深深地嵌入了他的内心,他希望在英格兰绿色欢乐的领地上向着阳光长得更高更壮.
Upon arrival in Chongqing, Sam was given his Chinese name Kuíhuā zǐ 葵花籽, 一到达重庆,Sam被人叫做”葵花籽”
Sam, being the sunflower seed he is, has spent his time in Chongqing hot footing it around, collecting sounds from the outdoor grandma discos and picking up old fireworks. Hey ho another day another noodle!
Sam,像太阳花一样,在重庆四处行走,从广场中老奶奶们的disco音乐的坝坝舞中采集声音并拾捡春节期间燃放过后的烟花.嘿!哪天我们再一起吃面!
The result of these experiences has led him to perform a series of site-specific raps at various locations in Chongqing. Giving birth to the start of his very own music platform for emerging young artist rappers, called UKTV.
这些经历使得他在重庆不同的地点表演了一系列具有具体场景的说唱.这也使得他作为一个’年轻艺术家／说唱歌手’创造的一个非常个人化的音乐平台得以诞生,并被命名为UKTV.
With a bag full of red gunpowder and a paint brush in hand, inevitably he has created some moody paintings, however his powder has been sprinkled further a field, things are sprouting from the studio floor and growing like vines from ceiling to wall, even a limited edition range of Chuan Kao pants have started to take shape, we can safely say - David Beckham, eat your heart out mate!
他手里拿着一包红色的矿物色粉和一只画刷,不可避免的创作了一些喜怒无常的作品,然而他的粉末被播撒到了更远的地方,东西从画室的地板上发芽像葡萄藤蔓一样从房梁垂下到墙上,即便有限的Chuan Keao裤子系列开始成形，我们可以毫无疑虑地说-大卫•贝克汉姆，把你的心吐出来，兄弟！（此处为一个笑话，表示贝克汉姆因为Chuan Keao系列的上市，其个人形象而变得’危险’）Being a sunflower seed, naturally he will return home soon, and upon arrival will plant himself in Sunnyside Road, South
Ealing, London. With his experiences in Chongqing embedded deep within his roots, he hopes to grow tall and strong and shed light on England’s green and pleasant land.
像太阳花种子一样的他，自然会很快回到家,当他到了之后,他会把自己种在光明路,南伊灵,伦敦.在重庆的经历深深地嵌入了他的内心,他希望在英格兰绿色欢乐的领地上向着阳光长得更高更壮.
Joe ’s Statement
A tall artist has just arrived in Chongqing. As he walks through the city, people stop to take a glance at this tall man, he smiles, waves back and they both proceed with their day. This short altercation transcends the existing language barrier between them, a social act that the artist embraces.
一个高个子艺术家刚刚到达重庆,当他穿行过城市,人们停下来朝这个高个子撇上一眼,他微笑着,他朝陌生人挥手,然后各自继续着自己的一天.这短暂的招呼已超越了本身存在于他们之间的语言障碍,超越了艺术家所经历的一个社会行为.
As he strolls to a restaurant, many locals are on the street continuing their daily rituals, playing cards, sitting, eating, smoking. They look up to detect this tall foreigner, which he enjoys. The man sits on his impractically small chair to eat, finding it difficult.
当他闲逛着去餐馆,在街上许许多多的当地人继续着他们的日常生活,玩牌,休憩,吃东西,吸烟.他们抬头观察这个高个子的外国人,他心里面感到一丝欢喜.他坐在那小的可怜的椅子上吃东西,发现显得异常困难.
After reflecting on a continuing theme within his work, one function of furniture is to display and observe social interactions. Joe has created his homemade Chinese sized stools as part of his implied shop front installation, a space that in China is used for socialising more than any other. His interest in workmanship and materials inspired his practical approach. Through an interplay between the decorative and the functional, these stools are completely unusable.
在他的作品中反映了一个持续性的主题之后,家具的一个功能是展示和观察社会交流。Joe创造了自制的中国尺寸的凳子作为在商店们前摆设的一种含蓄表达，这样一种空间是中国和其他地方相比更喜欢社交的场所。在工艺和材料的兴趣赋予他实际创作的灵感。通过装饰性和功能性的交互，这些凳子被赋予的意义完全不同.
A tall artist has just arrived in Chongqing. As he walks through the city, people stop to take a glance at this tall man, he smiles, waves back and they both proceed with their day. This short altercation transcends the existing language barrier between them, a social act that the artist embraces.
一个高个子艺术家刚刚到达重庆,当他穿行过城市,人们停下来朝这个高个子撇上一眼,他微笑着,他朝陌生人挥手,然后各自继续着自己的一天.这短暂的招呼已超越了本身存在于他们之间的语言障碍,超越了艺术家所经历的一个社会行为.
As he strolls to a restaurant, many locals are on the street continuing their daily rituals, playing cards, sitting, eating, smoking. They look up to detect this tall foreigner, which he enjoys. The man sits on his impractically small chair to eat, finding it difficult.
当他闲逛着去餐馆,在街上许许多多的当地人继续着他们的日常生活,玩牌,休憩,吃东西,吸烟.他们抬头观察这个高个子的外国人,他心里面感到一丝欢喜.他坐在那小的可怜的椅子上吃东西,发现显得异常困难.
After reflecting on a continuing theme within his work, one function of furniture is to display and observe social interactions. Joe has created his homemade Chinese sized stools as part of his implied shop front installation, a space that in China is used for socialising more than any other. His interest in workmanship and materials inspired his practical approach. Through an interplay between the decorative and the functional, these stools are completely unusable.
在他的作品中反映了一个持续性的主题之后,家具的一个功能是展示和观察社会交流。Joe创造了自制的中国尺寸的凳子作为在商店们前摆设的一种含蓄表达，这样一种空间是中国和其他地方相比更喜欢社交的场所。在工艺和材料的兴趣赋予他实际创作的灵感。通过装饰性和功能性的交互，这些凳子被赋予的意义完全不同.
David Auborn’s Statement
David’s work is ultimately becoming a celebration of life, exploring ideas that rise from the splendor he finds in this dimension and something beyond that, from a perspective that is not entirely human centric. The paintings are prompted by anything that fills David with excitement and wonder, ranging from constant flows of intuitive drawings, to particular heightened experiences, to found imagery, and all act as the paintings point of departure.
David的作品根本上呈现了生命的庆祝,从这样一个或是超越了完全以人类为中心的角度所汲取的辉煌去探索想法.绘画的灵感来源于David所感受到的兴奋和憧憬，从连续创作的直觉性绘画到实际体验加深的经历，到发现想象和各方面以绘画而为的终结点。
Working on multitudes of paintings at the same time, David keeps himself on the tender brink of potential between knowing, and not knowing when painting. This allows his paintings to remain intuitive, playful and experimental, take their own journeys, and grow into their own beings. This ever-present balance and openness during the paintings creation transcends to the viewer in various forms in the resolved paintings. Thus allowing the viewer a space within this frenetic world of emotive colour and form, to create their own associations, narratives and deductions.
在创作多幅绘画的同时，David使自己处在知与不知可能性的微妙边缘。这样使得他的作品保持自发性，充满乐趣与实验性，承载绘画本身的旅程，作品本身的独立完整性得以保持。在绘画创作中贯穿始终的平衡与开放用绘画以多种形式传递给了观者。因此这样使得观者在一个充满情感的色彩和形式的世界里有空间去创造自己的联系，叙述和推论。
Drawing is a crucial source of discovery and stimulation for David, working as a regular touchstone for the growth of his paintings. The endless possibilities, and immense potential of drawing constantly excites him, whilst allowing him to
explore and make sense of his instincts, as well as understand and engage with the world around him.
对于David来说，绘画是发现和刺激的重要来源，总是像试金石一样伴随他创作的成长。没有结局的可能性，绘画中蕴藏着的大量可能性一直让他充满快乐，同时允许他不断探索并运用直觉去认识和参与围绕他身边的世界。
More recently David has been creating drawings using a variety of media, and utilising a variety of sources. This range of approaches to drawing lends to his paintings, giving them a basis of language that is in a state of constant renewal, reassessment and invention. This pushes his work in directions he wouldn’t have previously foreseen, and continually excites
him.
最近David用各种各样的媒体和运用一系列的资源来创作绘画。这样的一种创作方式使得他的绘画被赋予不断更新,再审视和创造的基础性语言.正因如此,他的作品总是朝着他未曾预知的方向发展并不断的激励着他.
David’s work is ultimately becoming a celebration of life, exploring ideas that rise from the splendor he finds in this dimension and something beyond that, from a perspective that is not entirely human centric. The paintings are prompted by anything that fills David with excitement and wonder, ranging from constant flows of intuitive drawings, to particular heightened experiences, to found imagery, and all act as the paintings point of departure.
David的作品根本上呈现了生命的庆祝,从这样一个或是超越了完全以人类为中心的角度所汲取的辉煌去探索想法.绘画的灵感来源于David所感受到的兴奋和憧憬，从连续创作的直觉性绘画到实际体验加深的经历，到发现想象和各方面以绘画而为的终结点。
Working on multitudes of paintings at the same time, David keeps himself on the tender brink of potential between knowing, and not knowing when painting. This allows his paintings to remain intuitive, playful and experimental, take their own journeys, and grow into their own beings. This ever-present balance and openness during the paintings creation transcends to the viewer in various forms in the resolved paintings. Thus allowing the viewer a space within this frenetic world of emotive colour and form, to create their own associations, narratives and deductions.
在创作多幅绘画的同时，David使自己处在知与不知可能性的微妙边缘。这样使得他的作品保持自发性，充满乐趣与实验性，承载绘画本身的旅程，作品本身的独立完整性得以保持。在绘画创作中贯穿始终的平衡与开放用绘画以多种形式传递给了观者。因此这样使得观者在一个充满情感的色彩和形式的世界里有空间去创造自己的联系，叙述和推论。
Drawing is a crucial source of discovery and stimulation for David, working as a regular touchstone for the growth of his paintings. The endless possibilities, and immense potential of drawing constantly excites him, whilst allowing him to
explore and make sense of his instincts, as well as understand and engage with the world around him.
对于David来说，绘画是发现和刺激的重要来源，总是像试金石一样伴随他创作的成长。没有结局的可能性，绘画中蕴藏着的大量可能性一直让他充满快乐，同时允许他不断探索并运用直觉去认识和参与围绕他身边的世界。
More recently David has been creating drawings using a variety of media, and utilising a variety of sources. This range of approaches to drawing lends to his paintings, giving them a basis of language that is in a state of constant renewal, reassessment and invention. This pushes his work in directions he wouldn’t have previously foreseen, and continually excites
him.
最近David用各种各样的媒体和运用一系列的资源来创作绘画。这样的一种创作方式使得他的绘画被赋予不断更新,再审视和创造的基础性语言.正因如此,他的作品总是朝着他未曾预知的方向发展并不断的激励着他.
Alex Middleton ’s Statement
Alex holds the spontaneous ‘plastic dialogue’of making at the centre of his practice. In a world, which overwhelmingly sees the brains capacity for rational learned knowledge as its sole function, the playful, open ended, and nonsensical is championed. Working in this way allows him to be open in materials, images and ideas and to approach things from multiple angles.
Alex 在此次展览中所呈现的作品主题是自发的“塑料对话”。在一个世界里，大量充斥着大脑理性思考知识占主流的思潮，然而玩乐的，开放无尽的，荒谬的被看做附庸。用这样一种创作方式使得他对于材料，图像和想法持一种开放的眼光并从不同的角度接触，认知事物。
Spontaneous art forms are often associated with something spiritual or pure. The work you will find in this exhibition is anything but. This subversion of purity or totalitarian belief systems can also be found in the adoption and adaptation of religious iconography or cartoon imagery. The result is something much more complex and has stronger ties to reality.
自发性的艺术形式常常伴随着一种精神或纯粹。此次展览作品你会发现一种与此相反的状态。这种纯粹性的颠覆和集权主义信仰系统在信仰肖像或卡通形象的引入和应用里面同样存在，而结论是它们更加复杂并和现实有更强的联系。
Alex’s art communicates with the viewer on human terms and is therefore flawed, fragile, funny, joyful, corrupt, and confused. It examines and utilises the areas in between things, such as the cute and the ugly, the pure and the crude, the serious and the comical, the rational and irrational.
Alex的作品与观者用平实的方式交流，因此而表现得有些瑕疵的，片断残缺的，有趣的，欢乐的，矛盾的并令人困惑的。作品探索并运用了有交界领域的事物，比如说美与丑，纯粹与粗鲁，严肃与幽默，理性与非理性。
Above all the work you will see in this show is multifaceted and does not aim to convey any direct meaning or message to its viewer. It provides stimulus for contemplation where the audience can make connections, construct narratives and reach their own conclusions.
总的来说，此次展览中你所见的作品是有多重意义的并且并不直接向观者传递任何直接的意义或信息。它提供了一种沉思，触发着观者自己建立联系，构建故事和得出自己的结论。
Alex holds the spontaneous ‘plastic dialogue’of making at the centre of his practice. In a world, which overwhelmingly sees the brains capacity for rational learned knowledge as its sole function, the playful, open ended, and nonsensical is championed. Working in this way allows him to be open in materials, images and ideas and to approach things from multiple angles.
Alex 在此次展览中所呈现的作品主题是自发的“塑料对话”。在一个世界里，大量充斥着大脑理性思考知识占主流的思潮，然而玩乐的，开放无尽的，荒谬的被看做附庸。用这样一种创作方式使得他对于材料，图像和想法持一种开放的眼光并从不同的角度接触，认知事物。
Spontaneous art forms are often associated with something spiritual or pure. The work you will find in this exhibition is anything but. This subversion of purity or totalitarian belief systems can also be found in the adoption and adaptation of religious iconography or cartoon imagery. The result is something much more complex and has stronger ties to reality.
自发性的艺术形式常常伴随着一种精神或纯粹。此次展览作品你会发现一种与此相反的状态。这种纯粹性的颠覆和集权主义信仰系统在信仰肖像或卡通形象的引入和应用里面同样存在，而结论是它们更加复杂并和现实有更强的联系。
Alex’s art communicates with the viewer on human terms and is therefore flawed, fragile, funny, joyful, corrupt, and confused. It examines and utilises the areas in between things, such as the cute and the ugly, the pure and the crude, the serious and the comical, the rational and irrational.
Alex的作品与观者用平实的方式交流，因此而表现得有些瑕疵的，片断残缺的，有趣的，欢乐的，矛盾的并令人困惑的。作品探索并运用了有交界领域的事物，比如说美与丑，纯粹与粗鲁，严肃与幽默，理性与非理性。
Above all the work you will see in this show is multifaceted and does not aim to convey any direct meaning or message to its viewer. It provides stimulus for contemplation where the audience can make connections, construct narratives and reach their own conclusions.
总的来说，此次展览中你所见的作品是有多重意义的并且并不直接向观者传递任何直接的意义或信息。它提供了一种沉思，触发着观者自己建立联系，构建故事和得出自己的结论。
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2014 器·Haus空间艺术家驻留计划
Organhaus Art Space Artists Redidency Project
展览名称： 2+2final2
艺术家姓名 David Auborn, Sam Meredith, Alex Middleton ,Joe Venning
开幕：2014年02月22日 19:30
展期date：2014年02月22日~03月01日
地点: 重庆 九龙坡区 黄桷坪126号
器·Haus空间一号展厅（501艺术基地一楼）
Organhaus Art Space Artists Redidency Project
展览名称： 2+2final2
艺术家姓名 David Auborn, Sam Meredith, Alex Middleton ,Joe Venning
开幕：2014年02月22日 19:30
展期date：2014年02月22日~03月01日
地点: 重庆 九龙坡区 黄桷坪126号
器·Haus空间一号展厅（501艺术基地一楼）
